The Rise of Vertical Storytelling: A New Era for Screenwriters

Screenwriting Staffing
Jun 14
7 min read

Introduction by Jacob N. Stuart, Founder of Screenwriting Staffing

Since launching Screenwriting Staffing in 2013, my job has been to vet and approve legitimate industry professionals posting writing gigs and script searches. Over the past decade, I’ve had a front-row seat to the trends shaping the screenwriting landscape—from traditional features and studio assignments to indie pilots, branded content, and international co-productions. I’ve seen what gets traction, what fades out, and what quietly reshapes how stories are told. If something new is gaining momentum, especially in the indie and low-to-mid-budget world, it usually crosses my desk before most people are even talking about it.

One of the biggest developments I’ve tracked recently is the rise of vertical storytelling. Back in 2023, during the writers’ strike, we started seeing more and more producers—primarily overseas—looking to hire screenwriters for vertical series. A lot of these projects came out of Asia, and while the pay started low, they were offering real compensation for real work. At first, some of the details raised questions. Many producers used pseudonym names which made early vetting tricky. Some required writers to draft sample scripts based on five-episode outlines before being hired. It all felt a little unstructured, but still intriguing.

As time went on, vertical series didn’t fade. They grew. In fact, they started to gain real ground. What began as a curiosity has now become a reliable option for writers looking to get produced and paid. Over the last year, I’ve personally approved somewhere between 16 and 18 vertical series writing gigs on our site. These aren’t just filler jobs either—some of these producers are offering rates that nearly match WGA minimums, with high production value and quick turnarounds.

These projects are actually being made, often within weeks.

I’ve long encouraged writers to focus on shorts as a way to get produced credits and build experience. Shorts are fast, efficient, and often lead to more opportunities. But with the decline of traditional festivals and the oversaturation of short-form content, vertical series are starting to feel like the new frontier. They move quickly, they reach large mobile audiences, and they’re becoming a meaningful way to break in or stay active in the industry.

Still, I get a lot of questions from writers unfamiliar with the format. Some are skeptical, some confused, and many just don’t know where to begin. That’s why I reached out to my longtime friend and colleague Isabel Dréan. She just returned from Cannes and has not only written two vertical series—both greenlit—but is also leading the charge as an educator in this space. In fact, Isabel is teaching the first class on vertical storytelling, helping writers understand how to write for this emerging format and why it matters now more than ever.

What follows is a deep-dive conversation with Isabel on where vertical is headed, what producers want, and how writers can find their place in this fast-moving space.

If you're inspired to explore vertical series after this interview, use code STAFFING50 at checkout for $50 off Isabel’s class.

Jacob N. Stuart: What first got you interested in vertical storytelling?

Isabel Dréan: Back in 2010, I launched a streaming platform for web series and started experimenting with non-traditional formats. I’ve always been drawn to stories that break rules and meet the audience where they are. So when vertical storytelling started to gain traction, it immediately sparked something in me.

At first, I just watched it closely. Then, this year, I got hired to adapt a Chinese vertical series. A few months later, I wrote an original vertical—and it just got greenlit.

After writing two, I’m convinced: this is more than a trend. It’s a real shift in the way we tell stories, and it’s only growing.

Jacob: Where did vertical storytelling really start—and where is it headed?

Isabel: It started in China, mostly with telenovela-style content—fast, dramatic, addictive. Big emotions, constant twists, and cliffhangers every minute. That format exploded, and a lot of platforms followed that model.

But what’s happening now is different.

There's a growing demand for quality—especially stories centered on women.

Audiences want to see female empowerment, real emotional journeys, and storytelling that goes beyond recycled tropes.

That’s where I see the real future of vertical. It’s not just about speed—it’s about impact.

Jacob: Why is vertical taking off now?

Isabel: Because it fits how we live.

People don’t have time to sit through a 60-minute episode, but they’ll absolutely binge ten 90-second ones.

It’s fast, emotional, and accessible. And more importantly—it meets the audience on their phone, where they already are. You’re not pulling them into your world. You’re bringing the story directly into theirs.

Jacob: Who is the vertical audience—and what kind of stories do they want?

Isabel: The majority of viewers right now are women between 20 and 55. So if you're writing about love, betrayal, transformation, survival, or reinvention—you’re in the right space.

They want emotionally driven stories that hook them fast. Romance, suspense, complicated family dynamics, empowerment arcs—those are landing hard.

Give them a compelling voice, strong POV, and something they feel in under a minute, and they’ll keep swiping.

Jacob: How is writing vertical different from writing traditional film or TV?

Isabel: The pacing is completely different. There’s no time for setup or slow burns.

You have to drop the audience right into the moment—and then deliver a twist, a cliffhanger, or an emotional punch every 60 to 90 seconds.

Each beat is its own little story. Vertical writing isn’t about cutting a feature into smaller pieces—it’s about designing the entire thing to move.

Jacob: What’s the biggest adjustment writers need to make when switching to vertical?

Isabel: You need to unlearn the idea that good storytelling has to build slowly. You don’t have time for long exposition. You have to trust the audience to catch up—and they do.

Writing vertical is like jumping into a movie halfway through and getting hooked anyway.

You have to lead with tension, with a question, with a gut-punch. Every second counts. It's all about the cliffhangers.

Jacob: Why is vertical such a great space for emerging writers right now?

Isabel: Because it’s wide open. The format is still being defined, so there’s room to experiment, get hired, and stand out—without needing a stacked resume or an agent.

If you can write emotionally-charged, fast-paced stories with strong POV and killer hooks, you’ll get noticed.

And the best part? It's uncharted territory. Very excited to see where it's going.

Jacob: What’s realistic right now when it comes to pay?

Isabel: One of the biggest challenges right now is the low pay grade. Some companies are offering numbers that just aren’t sustainable, especially for the amount of work it takes to do this well.

But here’s the thing—if you get produced and prove you can deliver in this format, you start building leverage.

That’s what happened for me. Once producers see you understand the rhythm, structure, and emotional beats of vertical, they’re more open to negotiation.

You just have to be smart about what you say yes to, and intentional about building your track record.

Jacob: What’s your advice for negotiating vertical writing gigs—especially for new writers?

Isabel: Start by understanding your value. If you’ve studied the format, written samples, or—better yet—been produced, you already have leverage. Use it.

I also recommend flipping the dynamic: don’t just wait to be hired. Start pitching.

When you bring a strong vertical concept to a producer, you’re not just a writer—they see you as a creative partner.

Jacob: Are most vertical jobs work-for-hire, or are there real chances to retain IP or creative control?

Isabel: Right now, most of it is work-for-hire. And a lot of the dominant platforms own the IP outright. That’s the current model—but it’s not the one I believe in.

I’m also testing new business models and plan to produce verticals myself so I can retain ownership and help shift how creators are treated in this space.

Jacob: What kind of writer really thrives in vertical?

Isabel: Writers who can write fast, think visually, and understand tension. This format rewards momentum. If you can land a hook in 10 seconds, escalate a beat in 30, and leave us hanging in 90—you’ll thrive.

Jacob: What’s the most common mistake traditional screenwriters make when trying vertical for the first time?

Isabel:They think they can just take a feature or TV script and slice it up. It doesn’t work. Each beat in vertical needs to build and turn. Every single moment has to earn its place.

Also, many writers forget to think in portrait. You have to respect the format and write for it.

Jacob: Are vertical projects still mostly DIY—or are real budgets and teams starting to show up?

Isabel: Most are still scrappy. Budgets are tight. Production moves fast. It’s a bit of a Wild West phase. But I’ve already started to see a shift.

As platforms push for better content—and as writers and producers demand more—we’re going to see more real budgets, real teams, and better pay. It’s coming.

Jacob: Where do you see vertical storytelling heading next?

Isabel: I think we’re right on the edge of the next phase. Better content. Bigger budgets. Stronger creator involvement. More platforms that aren’t just chasing clicks, but investing in long-term value.

We’ll start seeing vertical shows with real vision—produced at scale, with writers getting credit and a real paycheck.

Jacob: Is vertical the future of screenwriting?

Isabel: It’s one of the futures—and it’s already here. If you’re a screenwriter trying to break in, this is the format you can enter right now. Not years from now. Now.

Vertical isn’t going anywhere. But the question is: are you going to wait until the rules are set—or be part of writing them?

Want to Learn Vertical from Someone Who’s Actually Doing It?

Isabel Dréan is a professional screenwriter, producer, and digital storytelling pioneer. She launched one of the first streaming platforms for web series, has written two vertical series (the second just got greenlit), and is at the forefront of shaping what this format can be—especially for stories centered on women and emotional impact.

Now, she’s teaching you how to do it too.

Isabel’s upcoming class “How to Write a Vertical Series” breaks down everything: structure, pacing, emotional hooks, how to pitch, and how to build a career in this space.

If you want to stop watching the industry shift and start being part of it—this is your invitation.

Follow Isabel on Instagram: @isabel.drean Get on the waitlist: 21dayscreenplay.com/verticaladd use code STAFFING50 at checkout for $50 off Isabel’s class.